ow nl oa de d B y: [U ni ve rs ity o f S us se x] A t: 15 :5 1 24 D ec em be r 2 00 7 Phillips, J. (1988). Latency and the unconscious in Merleau-Ponty. In Phenomenology and psychoanalysis: The sixth annual Symposium of the Simon Silverman Phenomenology Center (pp. 331–364). Pittsburgh, PA: Duquesne University Press. Phillips, J. (1996). Lacan and Merleau-Ponty: The confrontation of psychoanaly...

The study aims to describe the perception of seniors on the exercise of citizenship in the light of the thought of Maurice Merleau-Ponty, based on the notion of the sexed body and the other's body. Discloses was from the participation of 13 elderly, members of acquaintance groups in the city of Jequié/BA, which produced experiential descriptions in three focus group meetings, during the month o...

Maintaining that “the perceived world is the always presupposed foundation of all rationality, all value and all existence” (1964/1964: 13), Maurice MerleauPonty sought to develop a descriptive philosophy of perception, our kinaesthetic, prescientific, lived-bodily experience and cognition of the world—the unification of our affective, motor and sensory capacities. For Merleau-Ponty, ‘perceptio...

OBJECTIVE To describe the perception of lecturers and undergraduate nursing students regarding the dialogic experience in the informal spaces and its relationship with training in health. METHOD Experiential descriptions were collected in the context of a public university in the non-metropolitan region of the state of Bahia, Brazil, using open interviews. These descriptions were analyzed acc...

What is the influence of music on brain? And in what cases can this cause dysfunctioning? Among different examples analyzed by Oliver Sacks, one particularly significant: phenomenon synesthesia. Synesthesia connected to having an extra that associates kinds sensory information, music, and color. It sometimes transform hearing as a painful experience, transforming it into pure literal meaning – ...

“...aesthetic perception too opens up a new spatiality, that the picture as a work of art is not in the space which it inhabits as a physical thing and as a coloured canvas. That the dance evolves in an aimless and unorientated space, that it is a suspension of our history, that in the dance the subject and his world are no longer in opposition, no longer stand out one against the background of...

In this article I demonstrate how listeners understand musical processes with their bodies, and how their gestures can be used to build analytical models. Specifically, I draw on the phenomenology of Maurice Merleau-Ponty to argue that situated, active listeners project their motor intentional gestures inside music, where they reconstitute the very nature of musical space and its objects accord...

Nature appears in Merleau-Ponty’s early texts more as a context for a phenomenology of embodied existence than as a topic of interest in its own right.1 Since the philosopher became intensely interested in nature only from 1955 or 1956 on, one might think that an exploration of the earlier phenomenology of perception and behavior constitutes a digression from the later “new” ontology. Yet there...

O intuito do presente artigo é apresentar uma introdução e análise contextual da obra de Maurice Merleau-Ponty, através conceito central corpo ser encarnado – suas consequências em relação à manifestação fenomenológica sobre a concepção unidade sintética Ser-no-mundo compreensão percepção como núcleo entendimento existencial: ponto contato interioridade sua no mundo. A abordagem visa contextual...